Did you know that the music of Vivaldi's Four Seasons is based on four poems written by Antonio Vivaldi? In the music, each "Season" consists of a three-movement concerto. Two quick-tempo outer movements frame a central slow-tempo movement. The sonnets included in the score provide a specific description of each movement. A prose translation of the original Italian is provided below.
La Primavera (Spring)
Opus 8, No. 1, in E Major
Festive Spring has arrived,
The birds salute it with their happy song.
And the brooks, caressed by little Zephyrs,
Flow with a sweet murmur.
The sky is covered with a black mantle,
And thunder, and lightning, announce a storm.
When they are silent, the birds
Return to sing their lovely song.
II. Largo e pianissimo sempre--
And in the meadow, rich with flowers,
To the sweet murmur of leaves and plants,
The goatherd sleeps, with his faithful dog at his side.
III. Danza pastorale. Allegro--
To the festive sound of pastoral bagpipes,
Dance nymphs and shepherds,
At Spring's brilliant appearance.
Opus 8, No. 2, in G minor
I. Allegro non molto--
Under the heat of the burning summer sun,
Languish man and flock; the pine is parched.
The cuckoo finds its voice, and suddenly,
The turtledove and goldfinch sing.
A gentle breeze blows,
But suddenly, the north wind appears.
The shepherd weeps because, overhead,
Lies the fierce storm, and his destiny.
II. Adagio; Presto--
His tired limbs are deprived of rest
By his fear of lightning and fierce thunder,
And by furious swarms of flies and hornets.
Alas, how just are his fears,
Thunder and lightening fill the Heavens, and the hail
Slices the tops of the corn and other grain.
Opus 8, No. 3, in F Major
The peasants celebrate with dance and song,
The joy of a rich harvest.
And, full of Bacchus's liquor,
They finish their celebration with sleep.
II. Adagio molto--
Each peasant ceases his dance and song.
The mild air gives pleasure,
And the season invites many
To enjoy a sweet slumber.
The hunters, at the break of dawn, go to the hunt.
With horns, guns, and dogs they are off,
The beast flees, and they follow its trail.
Already fearful and exhausted by the great noise,
Of guns and dogs, and wounded,
The exhausted beast tries to flee, but dies.
Opus 8, No. 4, in F minor
I. Allegro non molto--
Frozen and trembling in the icy snow,
In the severe blast of the horrible wind,
As we run, we constantly stamp our feet,
And our teeth chatter in the cold.
To spend happy and quiet days near the fire,
While, outside, the rain soaks hundreds.
We walk on the ice with slow steps,
And tread carefully, for fear of falling.
Symphony, If we go quickly, we slip and fall to the ground.
Again we run on the ice,
Until it cracks and opens.
We hear, from closed doors,
Sirocco, Boreas, and all the winds in battle.
This is winter, but it brings joy.
Hailed as "a fearsomely powerful musician" by The Toronto Star, Canadian-born violinist Aisslinn Nosky is one of the most versatile and dynamic violinists today. She is in demand internationally as a soloist and director and was appointed Concertmaster of the Handel and Haydn Society in 2011. She has performed in solo and chamber music recitals across North America, Europe and Asia. Recent appearances as soloist include La Jolla SummerFest, the Staunton Music Festival, the Thunder Bay Symphony, Holland Baroque, the Calgary Philharmonic, and Tafelmusik Baroque Orchestra. In 2016 Aisslinn was named Principal Guest Conductor of the Niagara Symphony.
As a founding member of the Eybler quartet, Nosky explores repertoire from early quartet literature on period instruments. The Eybler Quartet's recording of Haydn's Opus 33 string quartets was released in 2012 on the Analekta label. The Globe and Mail mused "Many a great string quartet annihilates Haydn with incorrect tempos, intense legato, and a general misunderstanding of classical syntax. Here we have them as the composer might have heard them himself. In fact, maybe even better."
As Co-Artistic Director of I FURIOSI Baroque Ensemble, Aisslinn has helped bring an enthusiastic new audience to baroque music. Since 2001, I FURIOSI has presented its own flamboyant and inventive concert series in Toronto, and they have toured North America and Europe.
Aisslinn began playing violin at age three and received her early training at the Nanaimo Conservatory with Heilwig von Konigslow. At age eight, Aisslinn made her solo debut with the CBC Vancouver Orchestra. When she was 15, Nosky began studying in Toronto with Lorand Fenyves, at the Royal Conservatory of Music's Glenn Gould School. Further studies included both solo and chamber music for several summers at the Banff Centre for the Arts, and chamber music at the Steans Music Institute of the Ravinia Festival as a member of the Metro String Quartet.
Your CSO is excited to welcome Aisslinn as violinist and conductor for Vivaldi Four Seasons.
Born in 1989, American violinist Benjamin Beilman is winning plaudits across the globe for his compelling and impassioned performances, his deep rich tone and searing lyricism and is quickly establishing himself as one of the most significant artists of his generation. The New York Times has praised his "handsome technique, burnished sound, and quiet confidence [which] showed why he has come so far so fast". Reviewing his latest recording, The Strad said "Beilman imbues every idea with a scorching expressive imperativeness... soaring aloft with ear-ringingly pure intonation... then lacerating our sensitivities with hectoring explosions of sound."
In Europe Beilman has performed with many of the major orchestras including the London Philharmonic, Frankfurt Radio Symphony and Zurich Tonhalle and in 16/17 made his debut with the Rotterdam Philharmonic, City of Birmingham Symphony orchestras and the Orchestre National de Capitole de Toulouse. In the US recent highlights have included a return San Francisco Symphony, and debuts with Dallas Symphony, Atlanta Symphony and Nashville Symphony orchestras.
Beilman performs regularly in recital and chamber music, appearing at halls such as Wigmore Hall, Stockholm Concert Hall, Louvre (Paris), Rudolfinum (Prague), Philharmonie (Berlin) and at festivals including Verbier, Aix-en-Provence Easter, Colmar, Moritzburg, Heidelberg and in 2017 he made his debut at Amsterdam's Concertgebouw in the Robeco Summer Concerts in trio with Louis Schwizgebel and Narek Hakhnazaryan. In the US Beilman performs regularly at Carnegie Hall and is a frequent guest artist at festivals such as Music@Menlo, Marlboro, Seattle Chamber Music; further afield he made a ten-city recital tour of Australia in 2016 with Andrew Tyson and looks forward to recitals in SE Asia in the coming seasons.
Beilman has received several prestigious awards including a Borletti-Buitoni Trust Fellowship, an Avery Fisher Career Grant and a London Music Masters Award. In 2010 he won the First Prize in the Young Concert Artists International Auditions, and as First Prize Winner of the 2010 Montréal International Musical Competition and winner of the People's Choice Award, Beilman recorded Prokofiev's complete sonatas for violin on the Analekta label in 2011. In 2016 he released his first disc for Warner Classics titled Spectrum, featuring works by Stravinsky, Janacek and Schubert.
Beilman studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy. He plays the "Engleman" Stradivarius from 1709 generously on loan from the Nippon Music Foundation.
To learn more about Beilman, visit http://www.benjaminbeilman.com/biography/
Before you step into Knight Theater to hear the romantic and fiery sounds of Rodrigo Guitar Concerto, check out these facts about our guest classical guitarist Pablo Sáinz Villegas, otherwise kown as "the soul of the Spanish guitar."
1. Pablo was born June 16, 1977 in La Rioja, Spain. 2. Sáinz Villegas has performed numerous world premieres, including the first guitar piece to have been written by five-time Academy Award-winning composer John Williams. 3. Pablo was given the honor of performing in the presence of the Dalai Lama as well as the Royal Family of Spain. He was also chosen to serve as Cultural Ambassador to the Vivanco Foundation and its museum, considered by UNESCO as the best museum of wine culture in the world. 4. Sáinz Villegas has an extensive history of winning prestigious awards. Perhaps his most honorable was when he became the first guitarist to ever win Spain's top classical music honor, El Ojo Crítico. Pablo also won the famed Parkening International Guitar Competition, and prior to that he was already the recipient of more than 30 international awards, including the Francisco Tárrega Award and the Andrés Segovia Award at age 15. 5. Pablo has helped serve over 15,000 children, as he is the founder of "The Music Without Borders Legacy," a program that seeks to bridge communities across cultural, social, and political borders for the benefit of youth. 6. Sáinz Villegas is well known for his emotional artistry with the guitar, whether it's been in an intimate setting or before more than 85,000 people, as he did while accompanying the admired tenor Plácido Domingo, at the Santiago Bernabeu Stadium in Madrid. 7. In the 2015-16 season, Pablo accompanied Plácido Domingo on a floating stage in the Amazon River which was broadcast live to millions of people around the world.
Before you step into the concert hall to experience the most performed orchestral work of all time, check out some little known facts about Beethoven's Symphony No. 9! Witness this unparalleled expression of joy live with Christopher Warren-Green and your Charlotte Symphony on September 22, 23 & 24!
1. Symphony No. 9 was the last of Beethoven's symphonies, completed three years before his death in 1824.
2. Symphony No. 9 was premiered in Vienna on May 7, 1824.
3. When the piece premiered, Beethoven was completely deaf. At the end of the piece, the crowd burst into applause but Beethoven, who had been a few measures behind the symphony, continued to conduct. The contralto, Caroline Unger, walked over to Beethoven and turned him around so he could accept the rousing applause.
4. It is the first symphony to incorporate vocal soloists and chorus into what, until then, had been a purely instrumental genre. Words are sung in the final movement by four vocal soloists and a chorus.
5.The words in the final movement were taken from the "Ode to Joy" poem written by Friedrich von Schiller in 1785.
6. The Ninth is the most epic of Beethoven's symphonies, both in length and performers utilized. The piece is scored for soprano, alto, tenor and bass soloists, mixed chorus, piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, bass drum, cymbals, triangle, and strings.
7.Beethoven 9 was adopted as the European National Anthem in 1972. In 1985, it became the official anthem of the European Union.
8.When Philips started work on their new audio format known as a compact disc, many groups argued over what size it should be. They planned on having a 11.5 cm diameter CD while Sony planned on 10 cm. One bright chap insisted that one CD ought to have the capacity to contain a complete performance of Beethoven's Ninth Symphony. The duration ranges from about 65 to 74 minutes which requires a 12 cm diameter, the size of a CD.
9. Beethoven was a compositional rebel, rejecting standard classical practices in order to write with emotion. While many of his contemporaries were disgusted, if not intimidated by this, his influence on composers to come after him, like Brahms, Dvorak, and Mahler, shows how important a figure he was.
Oboist Gordon Hunt joins us Friday, March 24 and Saturday, March 25 for the riveting Strauss Oboe Concerto. We asked Mr. Hunt a few questions about his friendship with Music Director Christopher Warren-Green, his relationship to the Strauss piece, and his instrument.
CS: Could you share a bit about your friendship with Christopher Warren-Green, both on and off stage?
GH: Chris and I have been friends for a very long time, going back to when he joined the Philharmonia Orchestra as concertmaster. We hit it off straight away, both musically, within the orchestra, and also out of work time, when we spent a great deal of time together.
CS: What is it like to perform with someone you know so well? Does it change the performance at all?
GH: It feels good to work with a close friend - and especially as I am a conductor too, I really appreciate having someone I trust beside me. However, I don't think it fundamentally changes the performance, as in a way the music itself is even greater than the friendship. We are both there to serve the composer and his intentions.
CS: What can listeners expect from the Strauss Oboe Concerto?
GH: The typical mastery of orchestration and understanding of instrumental balance one expects from Richard Strauss, but in this very late work, also a more classical approach than one would expect in his great tone poems.
CS: What should they listen for specifically, if anything?
GH: The effortless way in which Strauss uses and develops the first simple four note motif, played by the cellos. In effect, he bases the whole concerto on this. Also listen for the very extended lines he weaves for the solo oboe, and the interplay between the soloist and the wind players.
CS: Do you recall the first time you performed this work? How did you feel?
GH: Yes, even though I have performed this piece well over 80 times now, I do remember the first time. I was 21 years old, in Oxford, England. I was excited to be facing this challenge (perhaps the greatest for my instrument), hoped there would be many more chances, and I felt immensely privileged to be playing such wonderful music.
CS: What do you do just before you go on stage? Do you think any thoughts or have any rituals?
GH: I try to have a few minutes to myself, just being quiet, but I have no rituals!
CS: How would you describe this work?
GH: It is in a way nostalgic, looking to the past, and musically simpler than so much of what Strauss had written before (I have already mentioned the quite "classical" approach). In some way, Strauss is nodding towards his lifelong hero Mozart, but with the unmistakable fingerprint he himself leaves on all his works.
CS: Can you share a few fun facts about your instrument?
GH: As oboists, our lives can seem to revolve around reeds, and sometimes it seems impossible to have one that you really like. Ultimately, it is down to the player to make the instrument sing and to communicate, so I always say that 50% of success in playing the oboe is learning to make good reeds, and the other 50% is leaning to play on bad ones!
Dvorak Symphony No. 7
Friday, March 24 & Saturday, March 25
8 p.m., Belk Theater at Blumenthal Performing Arts Center.
Seven local high school choral students will experience the thrill of performing live with the Charlotte Symphony November 19-21, 2015 at Belk Theater at Blumenthal Performing Arts Center.
The concerts, which feature the Fauré Requiem, will mark the debut of the 2015-2016 Young Artists in Residence program, a new immersive choral initiative of the Charlotte Symphony Chorus.
Students who won auditions come from Charlotte-Mecklenburg and Gaston County schools and have spent the last two months rehearsing the Requiem weekly with the Charlotte Symphony Chorus. "It has been a pleasure to work with these fine young musicians," says Kenney Potter, director of choruses for the Charlotte Symphony. "This is a great opportunity for them to perform Fauré's choral masterwork in a professional-caliber setting with the Charlotte Symphony and Charlotte Symphony Chorus."
The 2015-2016 Charlotte Symphony Chorus Young Artists in Residence are:
Jacob Dyksterhouse, bass, Stuart W. Cramer High School
Claire Houlihan, alto, Northwest School of the Arts
Hannah Keel, soprano, South Point High School
Matthew Noneman, bass, Providence High School
Trinity Sanford, soprano, Northwest School of the Arts
Stephenie Santilli, alto, Northwest School of the Arts
Nathalie Schlesinger, alto, Providence High School
On March 10, 2015 Charlotte Symphony Director of Choruses and Assistant Conductor Scott Allen Jarrett and Temple Israel's Cantor Elias Roochvarg led a discussion on Leonard Bernstein's Chichester Psalms. The Oratorio Singers of Charlotte were on hand to sing excerpts from the score. The talk was a preview to the Charlotte Symphony performance on March 27 and 28.
In our current season, we are celebrating the 150th birthday of Richard Strauss by performing his works throughout the Classics series. In this weekend's KnightSounds concert, A Waltz to Remember, we fill the program with works from Johann Strauss II, "The Waltz King." Learn more about these composers which shared the same occupation, the same last name, and absolutely no relation!
Johann Strauss II
Richard Georg Strauss
Johann, composer of more than 250 works
Franz , principal horn player of the Bavarian Court Opera
Symphonic poems and operas
Age of first composition
On the Beautiful Blue Danube
Works in CSO 2014-2015 season
Overture to Die Fledermaus, Annen Polka, The Laughing Song from Die Fledermaus, Emperor Waltz, The Audition Song from Die Fledermaus, On the Beautiful Blue Danube
Ein Heldenleben (A Hero's Life), Don Quixote, Le Bourgeois Gentilhomme